![]() And that she did, despite the fact that Streep quickly blocked and rehearsed the number with the episode’s director Adam Shankman the day before filming. The composition is relatively restrained because, “writing for Meryl Streep, you know she’s gonna bring a nuanced emotional depth,” added Paul. “That metaphor can live in the absurd place but it can also be a standalone song.” The lyrics don’t explicitly mention the murder plot but instead reference the play’s lighthouse setting as “the longing and the ache of motherhood, which is a really beautiful thing,” said Bareilles. That’s one of my preferred ways to work, to be the balloon string that ties people back down into the emotional center.” “So I knew we were trying to create something that was framed in an absurd way but still carried some real heart. “The show brilliantly toggles between the heightened and the grounded,” she said. And though Bareilles was assigned the song before the script was finished, she understood the task. In the episode, written by Matteo Borghese and Rob Turbovsky, Oliver completes the song in a matter of days Bareilles, Pasek and Paul required several weeks. ![]() 15, 2023 An earlier version of this article incorrectly identified the writers of the episode “Grab Your Hankies.” They are Matteo Borghese and Rob Turbovsky, not Noah Levine and Jake Schnesel. For their nanny is there, looking after them.”ġ:27 p.m. The triplets cry out in the night, their mother has died, but they’re not alone. “Let me set the scene: It’s late at the Pickwick lighthouse. “I do have something for you, and I think it might hold the heart of the show,” he prefaces with sincerity. The stakes are incredibly high it really does feel like you’re singing for your supper.”Īt the last minute, Oliver changes his mind about which song to present at the meeting. “The fate of your show rests upon whether people with resources want to invest time and money into your dream, and if you don’t pull it off, then years of work might all be for naught. ![]() “In our experience, those presentations can be real make-or-break moments,” said musical theater veteran Benj Pasek, who co-wrote the in-show musical’s songs with Justin Paul and others. The stirring sequence sees Oliver gathered with his actors and producers in his living room. After all, the ending of the aptly titled “Grab Your Hankies” - featuring powerful performances by Meryl Streep and Ashley Park - is liable to make you cry. The plan to put on “Death Rattle Dazzle!” may be as absurd as the original play’s premise, but the episode offers spellbinding evidence that it just might work. Never mind that the source material is a murder mystery in which the prime suspects are infants, or that the initial show shuttered when its leading man died opening night. In Tuesday’s episode of “Only Murders in the Building,” Oliver Putnam (Martin Short) tries to resurrect a failed theatrical production by attempting the near-impossible: re-imagining a stage play as a hit musical. Warning: This article contains spoilers for Season 3, Episode 3, of “Only Murders in the Building,” “Grab Your Hankies.”
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |